AVP-1�Antares Vocal Producer

Owner’s Manual

ii

©2002 Antares Audio Technologies. All rights reserved.

All trademarks are the property of their respective owners.

All names of microphone manufacturers and microphone modeldesignations appearing in this manual are used solely to identify themicrophones analyzed in the development of our digital models anddo not in any way imply any association with or endorsement by anyof the named manufacturers.

Antares Audio Technologies231 Technology CircleScotts Valley, California 95066 USA

voice: (831) 461-7800fax: (831) 461-7801email: info@antarestech.comweb: www.antarestech.com

Printed in USA Rev 1.2 01/2002

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Contents

Getting StartedWelcome v

Technical Support vi

Introducing the Antares Chapter 1AVP Overview 2

Auto-Tune Pitch Correction 3

Antares Microphone Modeling 7

Understanding Compression 8

What is a De-Esser? 15

Equalization 15

Setting Up Chapter 2Setting up the AVP is easy 20

Panel Controls Chapter 3The front panel 21

The back panel 24

Operation Chapter 4Live or mixdown? 25

Patching the AVP into your system 25

Controls and Display Screens 28

Master Module 28

Microphone Modeler Module 40

Auto-Tune Module 45

Compressor/Gate Module 48

De-Esser Module 51

Equalizer/Output Module 53

Vocal Producer

and Connectors

iv

Get Creative Chapter 5 58

AppendixFactory Presets 60

Realistic Mic Modeling Expectations 64

Specifications 66

Index 68

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Welcome!

On behalf of everyone at Antares Audio Technologies, we’d like tooffer both our thanks and congratulations on your decision topurchase the Antares Vocal Producer.

Before you proceed any farther, we’d like to strongly encourage youto fill out and return the AVP-1 registration card. To make it as easyas possible, we’ve included a sticker with your serial number alreadyattached to the card. It’s probably a good idea also to write it inyour manual for future reference.

As an AVP-1 owner, you are entitled to receive notification of anysoftware upgrades, technical support, and advance announcementsof upcoming products. But we can’t send you stuff unless we knowwho and where you are. So please, send that card in.

At Antares, we are committed to excellence in quality, customerservice, and technological innovation. With your purchase of theAVP-1, you have created a relationship with Antares which we hopewill be long and gratifying. Let us know what you think. You cancount on us to listen.

Again, thanks.

The Whole Antares Crew

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Technical Support

In the unlikely event that you experience a problem using yourAntares Vocal Producer, try the following:

1. Make another quick scan through this manual. Who knows? Youmay have stumbled onto some feature that you didn’t notice thefirst time through.

2. Check our web page for tips, techniques, or any late-breakinginformation: www.antarestech.com

3. Call your local Antares dealer.

4. Call us at (831) 461-7800 Monday through Friday between9am and 5pm USA Pacific Standard Time.

5. Email us at: techsupport@antarestech.com

For options 3, 4 and 5, please be prepared to provide the serialnumber of your Vocal Producer.

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Chapter 1:Introducing the Antares Vocal Producer

How to use this manualThe Antares Vocal Producer (henceforth referred to as the AVP) has a veryfriendly user-interface and is extraordinarily easy to use. However, to getthe full benefit of its capabilities, we recommend that you give thismanual at least a quick once over.

If the AVP is your first experience with vocal signal processing, you’ll find abrief introduction to the theory and application of the various processingmodules in this chapter. (More in-depth information can be found in avariety of books on recording technique and periodically in recording-oriented magazines like Electronic Musician, EQ, Mix, Recording,andHome Recording, among others.)

If you’re already familiar with the functions and uses of basic studio signalprocessors (compressor, gate, de-esser, EQ, etc.), you can go straight toChapter 4 to see how they are implemented in the AVP. On the otherhand, unless you have experience with Auto-Tune and Antares Micro-phone Modeler, it’s probably wise to at least read the background infor-mation on those features in Chapter 1.

The contents of this manualChapter 1: Introducing the Antares Vocal ProducerThe chapter you are reading. It provides an overview of the AVP as well asbackground information on Auto-Tune pitch correction and AntaresMicrophone Modeling. It also includes an introduction to basic concepts incompression, expansion, gating, de-essing, and parametric equalization.

Chapter 2: Setting Up the Antares Vocal ProducerHow to get the AVP up and running.

Chapter 3: Controls and ConnectorsThis chapter provides a reference for all of the controls, displays andconnectors on the AVP’s front and back panels.

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Chapter 4: OperationThis is a guide to all of the features and functions of the AVP. If you’reonly going to read one chapter, this is the one.

Chapter 5: Creative Applications for the AVPSome cool, but not-so-obvious stuff you can do with the AVP.

Antares Vocal Producer OverviewThe heart of any great song is a great vocal sound. With the Antares VocalProducer, we’ve combined our world-renowned Auto-Tune Pitch Correc-tion and TEC-Award-winning Microphone Modeler technologies withstate-of-the-art vocal processing modules to give you everything you needto create stunning vocal tracks in any musical style.

Live or in the studio, the AVP lets you instantly select from a library ofsounds. From gorgeously mellow to seriously twisted, we’ve includedfactory presets for a wide variety of vocal styles as well as an interface thatmakes it easy to create your own signature sounds. (And given the powerand flexibility of the AVP’s processing modules, we’ve even included aselection of presets for instrumental and percussion tracks.)

The Antares Vocal Producer features:

• Auto-Tune Real-time Pitch Correction Antares’s world-renowned Auto-Tune technology lets you correct the pitch of vocals (or solo instru-ments), in real time, without distortion or artifacts, while preserving allof the expressive nuance of the original performance.

• Antares Microphone Modeling Our TEC Awarding-winning MicrophoneModeler technology lets you give your vocal tracks the characteristics ofa variety of high-end studio mics as well as adjust the proximity effectassociated with mic distance.

• Analog Tube Modeling Gives your vocals the warmth of a classic tubepreamp.

• Variable Knee Compressor A state-of-the-art dynamics processor withthreshold, ratio, attack and decay controls as well as a continuouslyvariable knee characteristic.

• Downward Expanding Gate The AVP’s gate, with threshold and ratiocontrols, works independently of the compressor to eliminate noise andbreath sounds.

• Variable Frequency De-Esser The AVP’s de-esser tames vocal sibilancewith threshold, ratio, attack and decay controls as well as a variablehighpass frequency to match any vocal performance.

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• Flexible Parametric EQ You can fine-tune your vocal sound with twoindependent bands of equalization that let you select from 6dB or 12dBhigh or low cut, high or low shelving with variable slope, bandpass,notch and fully parametric peaking.

• Automatic Mono or Stereo Double Tracking You can automatically mixa doubled track into the AVP’s main output or route it to a separateoutput for post-processing and mixing.

• Fully Programmable Once you’ve created the perfect vocal sound for aparticular track, every parameter can be saved as a preset for instantrecall.

• Factory Presets for a Wide Variety of Vocal Styles The AVP comes out-of-the-box with an extensive collection of factory presets for a varietyof vocal styles. (We’ve even included a selection of presets for instru-mental and percussion tracks.)

• MIDI Automation Every variable module parameter can be controlledvia MIDI continuous controllers for realtime automation.

• Really Easy To Use No scrolling though endless menus to find theparameter you want. Virtually every major function is only a singlebutton press away.

Read on for the details.

Auto-Tune Pitch CorrectionIn 1997, Antares first introduced the ground-breaking Auto-Tune PitchCorrecting Plug-In for ProTools™ (eventually followed by most other plug-in formats). Here was a tool that actually corrected the pitch of vocals andother solo instruments, in real time, without distortion or artifacts, whilepreserving all of the expressive nuance of the original performance.Recording Magazine called Auto-Tune a “Holy Grail of recording.” Andwent on to say, “Bottom line, Auto-Tune is amazing… Everyone with aMac should have this program.” In fact, we know of quite a few peoplewho bought kilo-buck ProTools systems just to be able to run Auto-Tune.

The AVP’s Auto-Tune module is a hardware implementation of our Auto-Tune pitch correcting software. Like Auto-Tune, the AVP employs state-of-the-art digital signal processing algorithms (many, interestingly enough,drawn from the geophysical industry) to continuously detect the pitch of aperiodic input signal (typically a solo voice or instrument) and instantlyand seamlessly change it to a desired pitch (defined by any of a number ofuser-programmable scales).

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A little bit about pitchPitch is typically associated with our perception of the “highness” or“lowness” of a particular sound. Our perception of pitch ranges from thevery general (the high pitch of hissing steam, the low pitch of the rumbleof an earthquake) to the very specific (the exact pitch of a solo singer orviolinist). There is, of course, a wide range of variation in the middle. Asymphony orchestra playing a scale in unison, for example, results in anextremely complex waveform, yet you are still able to easily sense thepitch.

The vocalists and the solo instruments that the AVP is designed to processhave a very clearly defined quality of pitch. The sound-generating mecha-nism of these sources is a vibrating element (vocal chords, a string, an aircolumn, etc.). The sound that is thus generated can be graphically repre-sented as a waveform (a graph of the sound’s pressure over time) that isperiodic. This means that each cycle of waveform repeats itself fairlyexactly, as in the periodic waveform shown in the diagram below:

Because of its periodic nature, this sound’s pitch can be easily identifiedand processed by the AVP.

Other sounds are more complex. This waveform:

is of a violin section playing a single tone. Our ears still sense a specificpitch, but the waveform does not repeat itself. This waveform is a summa-tion of a number of individually periodic violins. The summation is non-periodic because the individual violins are slightly out of tune with respectto one another. Because of this lack of periodicity, Auto-Tune would notbe able to process this sound.

Some pitch terminologyThe pitch of a periodic waveform is defined as the number of times theperiodic element repeats in one second. This is measured in Hertz (abbre-viated Hz.). For example, the pitch of A3 (the A above middle C on apiano) is traditionally 440Hz (although that standard varies by a few Hz. invarious parts of the world).

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Pitches are often described relative to one another as intervals, or ratios offrequency. For example, two pitches are said to be one octave apart iftheir frequencies differ by a factor of two. Pitch ratios are measured inunits called cents. There are 1200 cents per octave. For example, two tonesthat are 2400 cents apart are two octaves apart. The traditional twelve-tone Equal Tempered Scale that is used (or rather approximated) in 99.9%of all Western tonal music consists of tones that are, by definition, 100cents apart. This interval of 100 cents is called a semitone.

How Auto-Tune detects pitchIn order for Auto-Tune to automatically correct pitch, it must first detectthe pitch of the input sound. Calculating the pitch of a periodic waveformis a straighforward process. Simply measure the time between repetitionsof the waveform. Divide this time into one, and you have the frequency inHertz. The AVP does exactly this: It looks for a periodically repeatingwaveform and calculates the time interval between repetitions.

The pitch detection algorithm in the AVP is virtually instantaneous. It canrecognize the repetition in a periodic sound within a few cycles. Thisusually occurs before the sound has sufficient amplitude to be heard. Usedin combination with a slight processing delay (no greater than 4 millisec-onds), the output pitch can be detected and corrected without artifacts ina seamless and continuous fashion.

The AVP was designed to detect and correct pitches up to the pitch C6. Ifthe input pitch is higher than C6, the AVP will often interpret the pitch anoctave lower. This is because it interprets a two cycle repetition as a onecycle repetition. On the low end, the AVP will detect pitches as low as 42Hz. This range of pitches allows intonation correction to be performed onall vocals and almost all instruments.

Of course, the AVP will not detect pitch when the input waveform is notperiodic. As demonstrated above, the AVP will fail to tune up even aunison violin section. But this can also occasionally be a problem with solovoice and solo instruments as well. Consider, for example, an exceptionallybreathy voice, or a voice recorded in an unavoidably noisy environment.The added signal is non-periodic, and the AVP will have difficulty deter-mining the pitch of the composite (voice + noise) sound. Luckily, there is acontrol (the Sensitivity control, discussed in Chapter 4) that will let theAVP be a bit more casual about what it considers “periodic.” Experiment-ing with this setting will often allow the AVP to track even noisy signals.

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How Auto-Tune corrects pitchAuto-Tune works by continuously tracking the pitch of an input sound andcomparing it to a user-defined scale. The scale tone closest to the input iscontinuously identified. If the input pitch exactly matches the scale tone,no correction is applied. If the input pitch varies from the desired scalepitch, an output pitch is generated which is closer to the scale tone thanthe input pitch. (The exact amount of correction is controlled by the Speedparameter, described below and in Chapter 4.)

ScalesThe heart of Auto-Tune pitch correction is the Scale. The AVP comes with25 preprogrammed scales. For each Scale you can define which notes willsound and which won’t. And for each note that will sound, you can decidewhether the AVP will apply pitch correction to input pitches near thatnote or leave those pitches uncorrected.

You can also edit any of the preprogrammed scales and save your customscale as part of a Preset.

SpeedYou also have control over how rapidly, in time, the pitch adjustment ismade toward the scale tone. This is set with the Speed control (see Chap-ter 4 for more details).

• Fast Speed settings are more appropriate for short duration notes andfor mechanical instruments, like an oboe or clarinet, whose pitchtypically changes almost instantly. A fast enough setting will alsominimize or completely remove a vibrato. At the fastest setting, youwill produce the now-infamous “Cher effect.”

• Slow Speed settings, on the other hand, are appropriate for longernotes where you want expressive pitch gestures (like vibrato) to comethrough at the output and for vocal and instrumental styles that aretypified by gradual slides (portamento) between pitches. An appropri-ately selected slow setting can leave a vibrato unmodified while theaverage pitch is accurately adjusted to be in tune.

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An exampleAs an example, consider this before-and-after graphic representation ofthe pitch of a vocal phrase that contains both vibrato and expressivegestures.

In the original performance, we can see that although the final noteshould be centered around D, the vocalist allowed the tail of the note tofall nearly three semitones flat. The “after” plot is the result of passingthis phrase through the AVP set to a D Major Scale (with C# and B set to”Blank”) and a Speed setting of 10. That Speed causes the pitch center tobe moved to D, while still retaining the vibrato and expressive gestures.(Setting C# and B to ”Blank” is necessary to keep the AVP from trying tocorrect the seriously flat tail of the last note to those pitches. See Chapter4 for more details.)

Antares Microphone ModelingIf you’ve spent any time lately flipping through the pages of pro audiomagazines, you have almost certainly noticed the intense focus on micro-phones. From the proliferation of exotic new mics to the almost cult-likefollowing of certain historical classics, never has the choice been greater.But amassing a substantial collection of high-end mics is financially pro-hibitive for all but the most well-heeled studios.

Now, using our patented Spectral Shaping Tool™ technology, we’vecreated digital models of a variety of microphones. Simply tell the AVPwhat type of microphone you are actually using and what type of micro-phone you’d like it to sound like. It’s as simple as that.

10.0 10.5 11.0

D3

B2

C� 3

ORIGINALPERFORMANCE

CORRECTED BY AVP

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With the AVP, you can record each track through a model of the type ofmic that will best produce that ideal sound you’re looking for. Or use it inlive performance to get the sound of mics you’d never consider using onstage. You can even use it during mixdown to effectively change the micon an already recorded track. And for that final touch of perfection, youcan even add some tasty tube saturation.

About the technologyThe models employed by the AVP are not derived from theoretical consid-erations. They are generated by a proprietary analysis process that isapplied to each physical mic modeled. Not only the sonic characteristics,but the behavior of other parameters such as low-cut filters or proximityeffects accurately reflect the specific performance of each microphone wemodel.

Another advantage of our model-based approach is that there is essen-tially no processing delay apart from the natural phase effects of themicrophones being modeled.

Finally, the quality and signal-to-noise characteristics of the processing arepristine. Because of our commitment to model-based processing, there arenone of the limitations or distortions characteristic of FFT-based algo-rithms. The quality of the output is limited only by the quality of theinput.

So what exactly does it do?While there is a lot of fairly complicated stuff going on under the hood,the essential functionality of the AVP’s Mic Modeling module is reallyquite simple. Basically, audio originally recorded by a microphone is inputto the AVP where it is first processed by a “Source Model” which serves toneutralize the known characteristics of the input mic. The audio is thenprocessed by a second “Modeled Mic” model which imposes the character-istics of the modeled mic onto the previously neutralized signal. Finally,the audio is passed through a model of a high-quality tube preampoffering the option of classic tube saturation distortion.

Understanding CompressionCompression is probably the most widely used (and potentially confusing)signal process used in today’s studios. Simply put, compression reduces thedynamic range of a signal. That is, it reduces the difference in loudnessbetween the loudest and quietest parts of a piece of music. Another wayto think about this is that the compressor is acting as an automatic faderwhich fades down when the signal gets loud and fades back up when thesignal gets soft.

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Why reduce the dynamic range? Consider the problem of mixing the vocalin a contemporary rock or pop song. Typically, pop music has a relativelyconsistent level of loudness. If an uncompressed vocal track is added to atypical pop mix, loudly sung words or syllables would jump out of the mix,while quieter phrases would be buried beneath the instrumental texture.This is because the difference between the loudest and softest sounds inthe vocal - its dynamic range - is very large. This same problem occurs forany instrument which has a dynamic range larger than the music bed intowhich it is being mixed. (For that reason, most instruments, not just vocals,undergo some compression in the typical mix.)

By using a compressor to decrease the dynamic range of the vocal, thesofter sounds are increased in loudness and the loudest sounds are re-duced in loudness, tending to even out the overall level of the track. Theoverall level of the compressed track can then be increased (using what isreferred to as “make-up gain”), making the vocal track louder and moreconsistent in level, and therefore easier to hear in the mix.

Threshold and RatioHow is compression measured? What is a little compression and what is alot of compression?

The effect a compressor has on a track is determined by the settings of itsthreshold and ratio. The threshold is the level above which the signal isattenuated. The ratio is the measure of how much the dynamic range iscompressed.

The graph shown below shows the relationship between the input level ofa signal and the output level of the signal after compression. Notice thatsignals that are louder than the threshold are compressed (reduced inlevel) while those softer than the threshold are unchanged.

As the input signal exceeds the threshold, gain reduction (reduction inloudness) is applied. The amount of gain reduction that is applied dependson the compression ratio. The higher the compression ratio, the more gainreduction is applied to the signal.

The graph shows the relationship between compression ratio and gainreduction. Examine the 2 to 1 ratio curve. For signals above the threshold,this setting transforms a range of loudness 2 units large into a range ofloudness one unit large (i.e., if the input signal gets “x” units louder, thecompressed signal increases by only “x/2” units).

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LimitingExamine the 99:1 curve in the above graph. This setting reduces all soundsabove the threshold to the same loudness. This is called limiting. Limitingis usually employed to allow a dynamic signal to be recorded at a maxi-mum level with no risk that transient peaks will result in overload. In thisapplication, the threshold setting (usually set relatively high) determinesthe extent to which the peaks will be limited.

Dynamic Expansion and GatingSometimes, it is desirable to increase the difference between the quietestsignal and the noise in a recording by using a downward expander. Atypical application would be eliminating room noises and breath soundsthat can be heard between the phrases of a recorded vocal part.

The graph below shows the curveÉ<or a downward expander. Notice thatabove the threshold, the curve follows a 1 to 1 ratio (i.e., is unaffected bythe gate). For each unit of input change below the threshold the outputchanges by two units. This is called a 1 to 2 expansion ratio.

As the input signal drops below the threshold, its output level drops attwice the rate it would using a 1 to 1 ratio. In effect, sounds below theexpander threshold are “faded out” more quickly than they would benormally.

OUTPUTLEVEL

INPUT LEVEL

LOUDER

LOUDER

THRESHOLD

I/O CURVE

1 TO 1 RATIO

2 TO 1 RATIO

4 TO 1 RATIO

8 TO 1 RATIO

99 TO 1 RATIO

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When expanders use ratios higher than 1:10, sounds below the thresholdare faded out very rapidly. This effect is called gating and can sound veryabrupt. Adjusting the gate ratio can smooth out the abrupt change. Thegraph below shows the input/output curve for a typical gate.

OUTPUTLEVEL

INPUT LEVEL

LOUDER

LOUDER

THRESHOLD

1 TO 2 EXPANSION RATIO

1 TO 1 RATIO

OUTPUTLEVEL

INPUT LEVEL

LOUDER

LOUDER

THRESHOLD

1 TO 99 EXPANSION RATIO

1 TO 1 RATIO

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Sounds that are louder than the threshold get “through the gate” un-changed. Sounds that are below the threshold are not heard. Gates can beused to great effect in processing drum tracks where sounds from theother instruments in the drum set leak through the mike of the instru-ment being recorded. Gates are also used frequently to “gate off” areverb tail or the ringing from an insufficiently damped drum head.

Compression and Expansion CombinedThe AVP allows you to use both compression and expansion simulta-neously. This ability is useful in taming the typical problems that arisewhen processing vocal tracks. The graph below illustrates the use ofcompression with a downward expanding gate.

Using this setting, levels above the compressor threshold will be com-pressed at a 4 to 1 ratio. Levels below the compressor threshold but abovethe gate threshold will not be changed. Levels below the gate thresholdwill be gated out completely.

Used on a vocal track, this setting will compress only hot peaks in thevoice, while gating out the room sounds, mike stand sounds, and breathnoises in the track. Precisely what gets compressed and gated is a functionof the compressor and gate threshold settings.

The graph below shows a dynamic expander. In this application, the gatethreshold and ratio are set to gently expand the program material at a 1.5to 1 ratio. The compressor ratio is set to 1 to 1. The setting is useful forrepairing over-compressed material or for adding some punch to drums orother percussive sounds.

OUTPUTLEVEL

INPUT LEVEL

LOUDER

GATE THRESHOLD

COMPRESSOR THRESHOLD

1 TO 99 EXPANSION RATIO

4 TO 1 RATIO

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Hard Knee/Soft KneeThe graphs shown above have what are described as “hard knees” in theirgain curves. This means that as the signal passes through the threshold,the gain reduction it receives will begin abruptly. In settings where thecompression or expansion ratios have high values, the abrupt change canbe heard and often sounds artificial.

To make it possible to create settings where the dynamic effects are morenatural sounding, the AVP incorporates a Knee control which allows youto soften the transition between sections of the gain curve. The graphbelow shows a curve which has “soft knees,”making the dynamic transi-tions more subtle.

OUTPUTLEVEL

INPUT LEVEL

LOUDER

LOUDER

GATE THRESHOLD

1 TO 5 EXPANSION RATIO

COMPRESSORTHRESHOLD

OUTPUTLEVEL

INPUT LEVEL

SOFT KNEESKNEE = 100

COMPRESSOR THRESHOLD

GATE THRESHOLD

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Attack and Release TimesThe attack time of a compressor is how long it takes for the compressor toreact once the input level has met or exceeded the threshold level. With afast attack time, the signal is brought under control almost immediately,whereas a slower attack time will allow the start of a transient or apercussive sound to pass through uncompressed before the processorbegins to react.

For sounds without percussive attacks (voices, synth pads, etc.), a fairlyshort attack time is usually used to ensure even compression. For instru-ments with percussive attacks (drums and guitars, for example), a slowerattack time is typically used to preserve the attack transients and, hence,the characteristic nature of the instruments.

The illustration below shows the effect of various the attack times.

The release time of a compressor is the time it takes for the gain to returnto normal after the input level drops below the threshold. A fast releasetime is used on rapidly varying signals to avoid affecting subsequenttransients. However, setting too quick a release time can cause undesirableartifacts with some signals. On the other hand, while slower release timescan give a smoother effect, if the release time is too long, the compressorwill not accurately track level changes in the input. Slow release times mayalso result in audible level changes known as “pumping.”

UNCOMPRESSED INPUT COMPRESSED1 mSEC ATTACK

COMPRESSED10 mSEC ATTACK

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What is a De-Esser?When recording spoken or sung material, the sibilants (Ss, Ts, CHs, andSHs) in the track often sound louder than the rest of the signal. The effectis unnatural and often irritating. The solution to this problem is to com-press only the sibilants, thereby lowering their level relative to the rest ofthe track. Processing a signal this way is called de-essing.

The diagram below shows how analog hardware is traditionally config-ured to accomplish de-essing.

Only the sibilants pass through the highpass filter. When the input signalcontains sibilant material, the output of the filter causes the compressorto compress the signal. The compressor only operates when a sibilant ispresent.

The AVP uses a digital algorithm to implement the de-esser function.While the details of the algorithm are quite complex, the resulting effectis functionally equivalent to the diagram above.

EqualizationThe AVP’s two bands of equalization each offer seven different filtertypes: Low Pass (6dB/octave and 12dB/octave), Low Shelf, Band Pass,Notch, Peaking, High Shelf, and High Pass (6dB/octave and 12dB/octave).Each filter type has its own characteristics and applications. The graphsused in the next section show the frequency response for each type withthe settings used to generate the curves notated next to the graph.

COMPRESSORININ OUT

OUT

SIDECHAIN INPUT

HIGHPASS

FILTER

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Low Pass - High Pass FiltersThe low pass and high pass filters available in the AVP offer both a 6dBper octave and a 12dB per octave roll-off characteristic. The 6dB peroctave versions offer a more subtle effect, while the 12dB per octaveroll-off is useful for attenuating sub-sonic noise, rumble, mic stand noise,high frequency hiss, and other environmental noises encountered in therecording process. Additionally, the 12dB per octave versions provide a“Q” control that allows you to create a variable height peak at the cut-offfrequency.

LOGMAGNITUDE

(dB)

FREQUENCY50

-18

-12

-6

0

6

100 300 1000 3000 10000 22050

LP

LOW PASS FILTER

Frequency: 1,000 Hz

Gain: N/A

Bandwidth: N/A

LOGMAGNITUDE

(dB)

FREQUENCY

50

-18

-12

-6

0

6

100 300 1000 3000 10000 22050

HP

HIGH PASS FILTER

Frequency: 1,000 Hz

Gain: N/A

Bandwidth: N/A

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LOGMAGNITUDE

(dB)

FREQUENCY

50

-18

-12

-6

0

6

100 300 1000 3000 10000 22050

HS

HIGH SHELF FILTER

Frequency: 1,000 Hz

Gain: +12 dB

Bandwidth: N/A

LOGMAGNITUDE

(dB)

FREQUENCY

50

-6

0

6

12

18

100 300 1000 3000 10000 22050

LS

LOW SHELF FILTER

Frequency: 1,000 Hz

Gain: +12 dB

Bandwidth: N/A

Shelving FiltersShelving filters are used primarily as “tone controls,” cutting or boostingwhole regions of the spectrum. (You can think of them as fancy versions ofthe traditional “Bass” and “Treble” controls you’d find on home stereos orboom boxes.) A high shelf filter, for instance, acts by raising or loweringthe part of the spectrum above the cut-off frequency.

The graphs below show the response of the high shelf and low shelf filtersat +12dB gain. Notice that the slope of the roll-off is 6dB per octave. TheAVP’s shelf filters provide a slope control that let’s you vary the filter’sslope between 2dB and 12dB per octave.

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Peaking FilterThe peaking filter is the traditional fully parametric EQ. It can be usedto subtly accentuate or attenuate a frequency or for much more radicaleffects.

In the AVP, the peaking filter works over a range of 20 Hz to 20 kHz andcan boost or cut the signal at the selected frequency by ± 18dB. Addition-ally, you can vary the bandwidth from 0.1 to 4.0 octaves.

The graphs below show the effect of changing the bandwidth control ofthe peaking filter.

LOGMAGNITUDE

(dB)

FREQUENCY

50

-6

0

6

12

18

100 300 1000 3000 10000 22050

BP1

PEAKING FILTER

Frequency: 1,000 Hz

Gain: +12 dB

Bandwidth: 1.0 octave

LOGMAGNITUDE

(dB)

FREQUENCY

50

-6

0

6

12

18

100 300 1000 3000 10000 22050

BP1

PEAKING FILTER

Frequency: 1,000 Hz

Gain: +12 dB

Bandwidth: 0.1 octave

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Band Pass and Notch FiltersBand pass and notch filters can be thought of as extreme examples of thepeaking filter.

The Band Pass filter sharply attenuates all frequencies except for a bandcentered around the cutoff frequency. The width of the pass band is setby the bandwidth or “Q” control. The band pass filter is typically used toisolate a particular frequency range in a track or mix.

The Notch Filter passes all frequencies except for a band centered aroundthe cutoff frequency, which is sharply attenuated. The width of the notchis also set by the “Q” control. The notch filter is used to eliminate un-wanted sounds appearing at a specific frequency in a track or mix.

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Chapter 2:Setting Up the Antares Vocal Producer

Setting up the AVP is very straightforward.

1. Find a suitable location. The AVP is designed to be mounted in astandard 19-inch equipment rack.

2. Connect an audio input to the Line In jack (see Chapter 4 for details ofpatching the AVP into your system).

3. Connect a cable to the Main Line Out jack. If you will be using the AVP’sStereo Double Tracking feature, connect a second cable to the DoubleTrack Line Out and route as desired (see Chapter 4 for details of patch-ing the AVP into your system).

4. If you will be controlling your AVP via MIDI, connect a MIDI cable fromyour MIDI source to the AVP’s MIDI IN jack.

5. Confirm that the included power supply is correct for the electricity inyour part of the world. If you are not sure, or the power supply has aplug that is incompatible with your wall sockets, contact your localAntares dealer for help.

IMPORTANT! Do not attempt to modify the supply or use any othersupply that is not specifically intended for the AVP.

6. Connect the power supply’s pin connector to the AC INPUT jack on therear of the AVP. Then plug the power supply into an AC outlet. YourAVP will briefly display the version number of its internal firmware andthen display the Select Preset page.

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Chapter 3:Panel Controls and Connectors

The Front Panel1 Non-existent Power Switch That’s right. There isn’t one. The AVP is

designed to remain on continuously. You can, of course, plug it in to aswitched power strip or power conditioner if you like, but leaving it onall the time will do it no harm.

2 LCD An easy-to-read 20 character by 2 line display. You can set theoptimum viewing angle in the Setup menu (See Chapter 4).

3 Data Entry Knob As the name implies, turn it to enter data.

The Master Module4 < (Left Cursor) Press this button to move the cursor to the left on

display pages with multiple data fields.

5 > (Right Cursor) Press this button to move the cursor to the right ondisplay pages with multiple data fields.

6 SETUP Press this button to enter the Setup Menu. The button lights toindicate that you are in Setup Mode. The Setup Menu contains thesettings that affect the AVP’s overall state (i.e., independent of thecurrently selected Preset).

7 PAGE When in the Setup Menu, press this button to cycle sequentiallythrough the available edit pages. You can only move in one direction,but there are so few pages in the Setup Menu that you are never morethan a few presses away from where you want to be.

1 2 3 4 5 11 12 1825

3135 39

2420 33 3427 30

7 815 16 17 28 29 37

239

261013 14 19 21 22 32 36 38

6

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8 PRESET Press this button to display the Select Preset screen.

9 SAVE Press this button to save a newly created or edited preset. Alsoused to confirm choices in functions that would result in overwritingcurrent data.

10 Input Level Meter These five LEDs light to indicate the level of theincoming audio. Ideally, you should adjust the input to the highest levelthat does not consistently cause the top red LED to light. (The red LEDlights at a level of -3dB. Digital clipping, which introduces a particularlynasty-sounding distortion, will occur if the input exceeds 0dB.)

A NOTE ABOUT THE METERS: The AVP’s front panel meters are de-signed to give you a quick overview of what’s going on with the variousmodules. For precise parameter adjustments, appropriate modulesprovide high resolution meter displays on their various LCD pages.

The Microphone Modeler Module11 SOURCE Press this button to select the microphone that was

(or will be) used to record the audio to be processed.

12 MODEL Press this button to select the microphone whose audiocharacteristics you wish to apply to your audio.

13 TUBE Press this button to pass your audio through a model of ahigh-quality tube preamp with variable tube “warmth.”

14 LOW CUT Press this button to set low cut filters for the source andmodel mics and to adjust the mics’ proximity effects.

15 ON When this button is lit, the Mic Modeler module is active. When it isnot lit, the module is bypassed. Pressing the button toggles its state.

The Auto-Tune Module16 SCALE Press this button to select the scale to be used as target pitches

for correction.

17 SPEED Press this button to set Auto-Tune’s pitch correction speed.

18 Correction Meter This meter indicates, in real time, the amount of pitchcorrection being applied to change the input pitch to the target pitch.The green LEDs indicate that the input is flat and that positive correc-tion is being applied. Conversely, the yellow LEDs indicate that theinput is sharp and that negative correction is required.

19 ON When this button is lit, the Auto-Tune module is active. When it isnot lit, the module is bypassed. Pressing the button toggles its state.

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The Compressor/Gate Module20 COMP. Press this button to set the compressor’s ratio, threshold and

makeup gain.

21 ATTACK Press this button to set the compressor’s attack time.

22 RELEASE Press this button to set the compressor’s release time.

23 KNEE Press this button to set the compressor’s knee characteristic.

24 GATE Press this button to set the gate’s ratio and threshold.

25 Compressor Gain Reduction Meter This meter lights to indicate theamount of gain reduction taking place.

26 ON When this button is lit, the Compressor/Gate module is active.When it is not lit, the module is bypassed. Pressing the button togglesits state.

The De-Esser Module27 DE-ESS Press this button to set the de-esser’s ratio and threshold.

28 ATTACK Press this button to set the de-esser’s attack time.

29 RELEASE Press this button to set the de-esser’s release time.

30 HP Press this button to set the frequency of the de-esser’s highpassfilter.

31 De-esser Gain Reduction Meter This meter lights to indicate theamount of gain reduction taking place.

32 ON When this button is lit, the De-esser module is active. When it isnot lit, the module is bypassed. Pressing the button toggles its state.

The Equalizer/Output Module33 BAND 1 Press this button to select the type of equalization and the

parameter values for parametric EQ band #1.

34 BAND 2 Press this button to select the type of equalization and theparameter values for parametric EQ band #2.

35 ON When this button is lit, both EQ bands are active. When it is not lit,they are bypassed. Pressing the button toggles its state.

36 DOUBLE TRACK Press this button to select the type and amount ofautomatic double tracking.

37 ON When this button is lit, double tracking is active. When it is not lit,it is bypassed. Pressing the button toggles its state.

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38 OUTPUT GAIN Press this button to adjust the AVP’s output gain and/orto engage the main bypass.

NOTE: While main bypass is engaged, no other controls will responduntil bypass is disengaged.

39 Output Level Meter This meter displays the AVP’s output level.

The Back Panel1 Main Line Output The AVP’s main audio output. It accepts a 1/4-inch TS

(tip-sleeve) phone plug.

2 Double Track Line Output If you have selected stereo double tracking,the second track is available at this output. It accepts a 1/4-inch TS (tip-sleeve) phone plug.

3 Line Input Accepts an unbalanced line level signal on a 1/4-inch TS (tip-sleeve) phone plug.

NOTE: This input is NOT a microphone input. A line level signal isrequired.

4 MIDI OUT Connect to the MIDI Input of a MIDI sequencer to dumpPreset and Setup Data via MIDI SysEx.

5 MIDI IN If you will be controlling your AVP via MIDI, connect the MIDIOut from a MIDI sequencer, keyboard, or other MIDI source here.Connect the MIDI Out from a sequencer to load previously saved SysExdata files.

6 Footswitch Plug in a footswitch here. A 1/4-inch TS (tip-sleeve) plug isrequired. There are two varieties of footswitches: those that are shortedby default and those that are open by default. You should plug in yourfootswitch and then power on the AVP. The AVP will detect which kindof footswitch you have and behave accordingly.

The actual function of the footswitch is selected in the Setup Menu.

7 AC Power Input Plug the connector from the included power supply inhere. Do NOT use a supply which is not expressly intended for the AVP.Bad things could happen.

1 2 3 4 5 6 7

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Chapter 4: Operation

Live or mixdown?The AVP functions equally well processing audio during its original perfor-mance or later during the mixdown process. However, if you have thechoice (which you typically will for everything but a live stage perfor-mance), we strongly recommend using the AVP as an insert effect duringmixdown. This will allow you to experiment with various settings whileauditioning their effect in the context of the entire mix.

If you do choose to work this way, and plan to use the MicrophoneModeling function, it is important that you document mic data for eachrecorded track. This should include the mic used, whether a low-cut filterwas engaged, as well as the average distance between the mic and thesignal source (singer, instrument, etc.). This information will be required toproperly set the Source Mic controls during the mix.

Patching the AVP into your systemDepending on your specific setup, there are a number of ways to patchthe AVP into your system. We’ll cover the most common below.

As an insert effect using your mixer’s channel insert jack(s)

This is probably the most common setup for the AVP. It will function as apre-fader effect on one of your mixer’s input channels.

CHANNEL 1

AVP MIXER

INPUT

SOURCE AUDIO

INSERT SEND

INSERT RETURN

INPUT

MAIN OUTPUT

DOUBLE TRACKOUTPUT

CHANNEL 2

INPUT

INSERT SEND

INSERT RETURN

OPTIONAL

AS AN INSERT EFFECTUSING YOUR MIXER’S SEPARATE INSERT SEND AND INSERT RETURN JACKS

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If your mixer has separate insert send and insert return jacks, patch theinsert send to the AVP’s Line In and the AVP’s Main Line Out to the mixer’sinsert return.

If (as is more common) your mixer has a single insert jack, you will need a“Y” cable with one 1/4" TRS (Tip, Ring, Sleeve) phone plug and two 1/4"TS phone plugs. Insert the TRS plug into the mixer’s insert jack and insertthe appropriate TS jacks into the AVP’s Line In and Line Out jacks (i.e., themixer’s insert send to AVP Line In and the mixer’s insert return to AVPMain Line Out.)

NOTE: In most cases, a mixer’s insert send will appear on the tip of theTRS plug and the insert return on the ring. However, you should consultyour mixer’s manual to confirm that this is indeed the case for yourmixer.

In this configuration, you should use your mixer’s channel trim to set theinput level of the AVP.

NOTE: If you will be using the AVP’s Double Tracking function in stereomode, patch the AVP’s Double Track output to a separate channel onyour mixer.

As an insert effect using two mixer channels

CHANNEL 1

AVP MIXER

INPUT

INSERTSEND/RETURN

INSERTSEND/RETURN

INPUT

MAIN OUTPUT

DOUBLE TRACKOUTPUT

CHANNEL 2

INPUT

OPTIONAL

AS AN INSERT EFFECTUSING YOUR MIXER’S SINGLE INSERT JACK

NOTE: REQUIRES TRS PLUG

SOURCE AUDIO

CHANNEL 1

AVP MIXER

INPUT

DIRECT OUT

INPUT

MAIN OUTPUT

DOUBLE TRACKOUTPUT

CHANNEL 2 CHANNEL 3

INPUT

DIRECT OUT

OPTIONAL

INPUT

DIRECT OUT

AS AN INSERT EFFECT USING TWO MIXER CHANNELS

SOURCE AUDIO

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For this configuration, your mixer must provide direct channel outputs.

Patch the direct output of the channel whose signal you want to processto the Line Input of the AVP. Patch the Main Output of the AVP to the lineinput of a second mixer channel. Use the fader of the first channel to setthe input level of the AVP. Be sure that the first channel is not assigned tothe main mix.

NOTE: If you will be using the AVP’s Double Tracking function in stereomode, patch the AVP’s Double Track output to a third channel on yourmixer.

With an external mic preamp or instrument

If you are recording directly to a tape deck or hard disk recorder, patch theoutput from an external mic preamp or instrument (at line level) into theAVP’s Line Input and the AVP’s Main Output into your recorder. If you willbe using the AVP’s Double Tracking function in stereo mode, patch theAVP’s Double Track output to a separate channel on your recorder.

AN IMPORTANT NOTE ABOUT MONITORING: If the AVP is used toAuto-Tune an artist’s performance in real time, it is important thatthe performer is able to monitor their original signal, not the pitch-corrected signal. Trying to react musically to the processed signal willdrive them crazy and, in most cases, drive them farther off pitch.

CHANNEL 1

AVP RECORDER

MIC PREAMP OR INSTRUMENT

INPUT

MAIN OUTPUT

DOUBLE TRACKOUTPUT

CHANNEL 2

OPTIONAL

WITH AN EXTERNALMIC PREAMP ORINSTRUMENT

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Controls and Display Screens

MASTER MODULE

Preset SelectWhen the AVP is first powered up, it will briefly display the version of itsinternal firmware and will then display the Preset Selection screen:

Select Preset:##: Preset Name

Use the Data Entry knob to select the desired preset. Presets may also beselected by MIDI Program Change commands and may be stepped throughsequentially using a footswitch.

Pressing the Preset button will always return you to this screen.

NOTE: Depending on the relative settings of adjacent presets, changingpresets while the AVP is processing audio may result in audible artifacts.If you are using the AVP in live performance, care should be taken tochange presets while no audio is being processed.

Factory PresetsThe AVP provides the ability to store 35 presets. All of these preset loca-tions initially contain factory presets. The factory presets can be edited orreplaced entirely. Should you wish, you can always restore the factorypresets at a later time (see the “Restore Factory Presets” page below.)

A couple of things to keep in mind about the factory presets:

1. Except for those that use it as a special effect, all factory presets havethe Auto-Tune module turned off. If you want to include Auto-Tune ina factory preset, either edit the preset and resave it, or copy the presetto an unused location and edit the copy.

2. Presets that include double tracking default to Stereo Mode and Auto-Tune set to a chromatic scale. Again, edit and resave or copy as desired.

Input MeterThese five LEDs light to indicate the level of the incoming audio. Ideally,you should adjust the input to the highest level that does not consistentlycause the top red LED to light. (The red LED lights at a level of -3dB.Digital clipping, which introduces a particularly nasty-sounding distortion,will occur if the input exceeds 0dB.)

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NOTE: This meter reflects the level of the analog audio input. It is notaffected by the digital Input Trim described below in the Setup Menu.Depending on how you have patched the AVP into your system, theinput level should be adjusted by a mixer channel trim (for a pre-faderinsert effect), a channel fader (if using a separate channel as a return),or by an external preamp (if you have patched the AVP between thepreamp and your mixer input).

ANOTHER NOTE: The AVP’s front panel level meter is designed to giveyou a quick overview of input signal level. For precise level adjustment,see the Input Level Meter Page in the Setup section below.

< (Left Cursor)Pressing this button will move the cursor to the left on display pages withmultiple data fields.

> (Right Cursor)Pressing this button will move the cursor to the right on display pageswith multiple data fields.

PageWhen in the Setup Menu, pressing this button will cycle sequentiallythrough the available edit pages. You can only move in one direction, butthere are so few pages in the Setup Menu that you are never more than afew presses away from where you want to be.

When you are in any of the processing modules, pressing the Page buttonwill cycle sequentially through all of the pages of that module.

SetupPressing the Setup button will place the AVP in Setup Mode. The buttonwill light to indicate this state. Pressing the button again will exit SetupMode and return you to whichever screen you were in immediately beforeentering Setup Mode.

The Setup pages allow you to set parameters which affect the AVPglobally, independent of whichever Preset is currently active.

All Setup Menu parameter values are automatically saved.

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Input Level Meter Page

In: -24 -12 -6 -3 0

This page provides a high resolution display for ease in setting the inputsignal level. Ideally, you should adjust the input to the highest level thatdoes not consistently cause the meter to reach 0dB. (Digital clipping,which introduces a particularly nasty-sounding distortion, will occur if theinput exceeds 0dB.)

NOTE: This meter reflects the level of the analog audio input. It is notaffected by the digital Input Trim described above in the Setup Menu.Depending on how you have patched the AVP into your system, theinput level should be adjusted by a mixer channel trim (for a pre-faderinsert effect), a channel fader (if using a separate channel as a return),or by an external preamp (if you have patched the AVP between thepreamp and your mixer input).

Input Trim Page

Input Trim (digital) 0dB

This control adjusts the signal level in the digital domain and should beused primarily to ensure that an adequate signal level is being provided tothe Tube Modeler and the compressor. It’s setting is not reflected by theInput Level Meter.

You should typically start with this setting at 0dB and only change it if youare not getting the desired results from the various dynamics modules.

NOTE: If your input is clipping the AVP (pegging the Input Meter and/orcausing audible distortion), don’t attempt to use the Input Trim controlto lower the level. All you will be doing is turning down the volume ofthe distortion (which will still remain). Instead, lower the input level atthe source (as described above in the Input Level Meter section).

Audio Type Page

Audio Type Soprano Voice

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As a result of Antares research into the unique characteristics of varioustypes of audio signals, the AVP Auto-Tune module offers a selection ofoptimized processing algorithms for the most commonly pitch-correctedinputs. Choices include Soprano Voice, Alto/Tenor Voice, Low Male Voice,and Instrument. Matching the appropriate algorithm to the input resultsin even faster and more accurate pitch detection and correction. Use theData Knob to select the desired Input Type.

NOTE: Choosing the wrong Input Type (or just forgetting to set it at all)can result in compromised performance. Pay attention.

Auto-Tune Detune Page

Auto-Tune Detune 0 cents

The Detune parameter allows you to change the pitch standard of theAVP’s Auto-tune module from the default A = 440Hz. The values are cents(100 cents = a semitone). The range of adjustment is from -100 to +100cents.

The Detune function can be used to tune a vocal performance to someirreparably out-of-tune instrument (a piano or organ, for example), or toallow correction to other than the conventional 440Hz standard.

Refer to the following table to convert cents to Hertz relative to 440Hz.

DETUNE SETTING A=HERTZ

-20 435

-16 436

-12 437

-8 438

-4 439

0 440

+4 441

+8 442

+12 443

+16 444

+20 445

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This table can be extended in either direction by adding or subtracting 4cents per Hertz, as appropriate.

Auto-Tune Sensitivity Page

Auto-Tune Sensitivity: 10

The Sensitivity parameter ranges from 0 to 25 and controls exactly what itsname implies. At settings of 0–9, you will be rude and boorish to thosewho love you most, wish harm upon small furry animals, and enjoy theJerry Springer Show. From 10–20 you will (in varying degrees), see thegood in every situation, cry openly in public (especially if you are male),and be in close touch with your inner child. From 21–25 you’ll be in closetouch with everybody’s inner child.

OK, we’re kidding about that. (And those of you who are not in the USA,please forgive the North American-centric references.)

Actually, in order to accurately identify the pitch of the input, the AVP’sAuto-Tune module requires a periodically repeating waveform, character-istic of a voice or solo instrument. The Sensitivity control determines howmuch variation is allowed in the incoming waveform for the AVP to stillconsider it periodic.

If you are working with a well-isolated solo signal (e.g., tracking in astudio or off of a multi-track tape) you can typically set the Sensitivitycontrol to 10 and forget it.

If, on the other hand, your signal is noisy or not well-isolated (as might bemore common in a live performance situation), it may be necessary toallow more signal variation (higher Sensitivity numbers). However, if youback off too much, the AVP’s ability to detect pitch may be affected.

As a rule, you should start with settings of about 7 to 10. If you want todetect only highly stable sounds in low-noise conditions, settings of from 2to 5 may be appropriate. If there is ambient noise or other interferingsounds, try settings of from 15 to 20. Values close to zero or 25 are ex-treme, and will typically not do anything useful.

MIDI Channel Page

MIDI Channel: OMNIMIDI Prog Change: ON

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The MIDI Channel parameter selects the channel over which the AVPreceives MIDI continuous controller and Program Change messages. Thechoices include:

Individual MIDI channels 1–16 If an individual channel is selected, theAVP will respond to messages received on that channel only and willignore any messages on other channels.

OMNI If OMNI is selected, the AVP will respond to messages on anyMIDI channel.

When MIDI Program Change is set to ON, the AVP will respond to MIDIProgram Change messages received on the selected MIDI channel. When itis set to OFF, all MIDI Program Change messages will be ignored.

MIDI Controllers Page

MIDI ControllersAuto-Tune Speed OFF

This page allows you to assign MIDI Continuous Controllers to various AVPfunctions. Using MIDI control messages, you can vary multiple AVP param-eters in real time using a MIDI fader box or automate dynamic parameterchanges using a MIDI sequencer.

To make use of MIDI control, you must have your MIDI source patched tothe AVP’s MIDI input and the messages must be sent on the MIDI channelselected in the MIDI Channel page described above.

All parameters are initially assigned to OFF (i.e., they will not respond toany controller). To assign a MIDI Continuous Controller to an AVP param-eter, use the Data Knob to scroll to the desired parameter. Then press the> (Right Cursor) button to move to the Controller Number field and usethe Data Knob to select the desired controller.

For maximum flexibility, it’s possible to assign one MIDI controller tomultiple AVP parameters. However, this could also become confusing. Tohelp you keep track of what you’ve previously assigned, as you scrollthrough the controller numbers an asterisk “*” will appear to the left ofany controller number that is currently assigned to another parameter.

NOTE: All 128 MIDI controllers (0-127) are available for assignment.However, keep in mind that some are typically predefined for certainfunctions (Mod Wheel, Channel Volume, etc.). If other MIDI devices arebeing controlled on the same MIDI channel as the AVP, it may beprudent to avoid these predefined controllers.

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The following parameters can be controlled via MIDI:

Auto-Tune Speed De-esser High Pass FrequencyAuto-Tune ON/OFF De-esser AttackTube Warmth De-esser ReleaseSource Mic Proximity De-esser ON/OFFModel Mic Proximity EQ1 FrequencyMic Mod ON/OFF EQ1 QCompressor Threshold EQ1 SlopeCompressor Ratio EQ1 GainCompressor Makeup Gain EQ2 FrequencyCompressor Attack EQ2 QCompressor Release EQ2 SlopeGate Threshold EQ2 GainGate Ratio EQ ON/OFFComp/Gate ON/OFF Double Track MixDe-esser Threshold Double Track ON/OFFDe-esser Ratio Output Gain

Footswitch Assign Page

Footswitch AssignMain Bypass OFF

To assign a footswitch to control one or more AVP functions, use the DataKnob to select the desired function and then press the > (Right Cursor)button to move to the ON/OFF field and select ON.

The following functions can be controlled by a footswitch:

Main Bypass Comp/Gate ON/OFFIncrement Preset De-esser ON/OFFMic Mod ON/OFF EQ ON/OFFAuto-Tune ON/OFF Double Track ON/OFFNOTE: Engaging Main Bypass via the footswitch results in the display ofthe Main Bypass screen and locks out all other button presses untilBypass is disengaged (either via the footswitch or a physical buttonpress).

For maximum flexibility, it is possible to assign the footswitch to multipleparameters. You would typically use this capability to turn multiplemodules on or off with a single press of the footswitch. However, it is alsopossible to assign the footswitch to combinations of functions that don’tmake much practical sense. Specifically, be aware of the following:

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• If the footswitch is set to control Main Bypass, all other assignments areignored

• If the footswitch is set to Increment Preset and one or more of themodule ON/OFF functions, each time you press the footswitch the AVPwill advance to the next Preset and the ON/OFF state of the assignedmodule(s) will be toggled. Hence, alternate presets will have theselected modules ON, then OFF, then ON, etc.

NOTE: It’s generally not a good idea to plug in a footswitch while theAVP is powered up. While it will do no physical harm, the momentaryshort caused by the plug moving past the contacts will be interpreted asa footswitch depression, causing potentially unexpected results.

ANOTHER NOTE: There are two varieties of footswitches: those that areshorted by default and those that are open by default. To ensure yourfootswitch works correctly, you should plug in your footswitch and thenpower on the AVP. The AVP will detect which kind of foot switch youhave and behave accordingly. (If a normally open footswitch is pluggedin after powerup, it will work correctly. However, if a normally shortedfootswitch is plugged in after powerup, it will register “pressed”whenever it’s not actually being pressed. So don’t do that)

MIDI Preset Dump PageThe MIDI Preset Dump function allows you to archive one or more of yourpresets and/or your AVP’s Setup Menu settings as a MIDI SysEx file thatcan then be reloaded into your AVP at some later time. This function isalso useful for organizing sets of presets, e.g., all of the presets used in aparticular album project or set list.

Any MIDI sequencer, either hardware or computer-based, that is capableof recording and transmitting MIDI SysEx files can be used to store andreload AVP presets.

In order to dump MIDI data, you must connect the AVP’s MIDI Out to theMIDI Input of your sequencer or computer and ensure that the sequenceris set to receive on the MIDI channel selected in the MIDI Channel pagedescribed above.

Use the Data Knob to select exactly what to include in the SysEx file.

<Save> For MIDI DumpAll Presets + Setup

This selection saves all of the AVP’s presets along with the Setup Menudata. When this file is loaded back into your AVP, it will replace all of theAVP’s presets and Setup data with the contents of the file.

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<Save> For MIDI DumpAll Presets Only

This selection saves all of the AVP’s presets. When this file is loaded backinto your AVP, it will replace all of the AVP’s presets with the contents ofthe file, but will leave the current Setup data unchanged.

<Save> For MIDI DumpSetup Data Only

This selection saves only the AVP’s Setup data. When this file is loadedback into your AVP, it will replace the current Setup data with the con-tents of the file, and will leave all presets unchanged.

<Save> For MIDI Dump## Preset Name

This selection saves the single selected AVP preset. When this file is loadedback into your AVP, it will replace the preset currently at that numericallocation with the contents of the file, but will leave all other presets andthe current Setup data unchanged.

In any case, after pressing Save, the AVP will begin transmitting theselected SysEx data and display the following screen:

Transmitting MIDI Data

When the transmission is complete, you will see the following for about 2seconds:

Transmission Complete

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MIDI Preset Restore Enable PageThis page allows you to either enable or disable the AVP’s ability to receiveMIDI SysEx messages.

Enable MIDI SysExReception: NO

When "NO" is selected, the AVP will ignore all MIDI SysEx messages.When "Yes" is selected, the AVP will respond to any valid AVP SysEx filescreated with the MIDI Preset Dump function described above.

To restore a previously saved file, select "Yes" on the above page andensure that the MIDI Out on your sequencer or computer is connected tothe AVP’s MIDI In.

On your MIDI sequencer, select the file that contains the Presets and/orSetup data you wish to load. Play that file into the AVP.

IMPORTANT NOTE: Reloading one or more presets will permanentlyoverwrite whatever presets are currently in the corresponding numeri-cal locations. If you want to save those presets, either copy them to alocation which will not be overwritten or save them as a MIDI SysEx fileusing the MIDI Preset Dump page described above.

While the AVP is receiving and storing valid SysEx data, the followingscreen will be displayed:

Receiving and storing MIDI Data

When the load is completed, you will see the following screen for about 2seconds:

MIDI Load Complete

If the AVP detects a problem with the received SysEx data, the followingscreen will be displayed:

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Bad SysEx Data Received

If this happens to you, check to be sure that you have sent the AVP thecorrect file from your sequencer.

Restore Factory Presets Page

<Save> to restore## Preset Name

If you have edited or replaced any of the factory presets and wish torestore one or more of them, use the Data Knob to select the desiredfactory preset. If you scroll to the end of the factory preset list you willsee the additional choice:

<Save> to restoreRestore all Presets

Once you have made your selection, press Save to see:

Are you sure?<Save> to confirm

IMPORTANT NOTE: Restoring one or more factory presets will perma-nently overwrite whatever presets are currently in the correspondingpreset locations. If you want to save those presets, either copy them toa location which will not be overwritten or save them as a MIDI SysExfile using the MIDI Preset Dump page described above.

If you have selected "Restore all Presets," the process will take about 9seconds and you will see this screen during the save process:

Factory Presetsrestore in progress.

If you have selected a single preset, the process is virtually instantaneous.

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In either case, once the restore is completed, you will see the followingscreen for a few seconds:

Factory Presets restore completed.

and then you will be returned to the initial Restore Presets page.

LCD Contrast Page

LCD contrast 3

The LCD Contrast parameter lets you set the maximum display contrast foryour viewing angle. Use the Data Knob to select the value that providesthe greatest contrast between the display text and the background.

Save Preset PageWhen you have created a new preset or made changes to an existingpreset and want to save the changes, press the Save button to access thisscreen:

Edit name & <Save>Name:Preset Name

If you have been editing an existing preset, the Name field will containthe name of that preset. If you don’t wish to change the name (e.g., if youare editing a preset and plan to overwrite it with the edited version),simply press Save again to be taken to the next screen.

If you do wish to change the name, use the Cursor buttons to move fromcharacter to character and the Data Knob to select the desired letter,number or punctuation mark for each character. When you are finished,press Save to access this screen:

<Save> to overwrite:## Preset Name

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The Preset number and Preset name will initially be the number and nameof the original preset you were editing (i.e., the Preset Name will be theoriginal name of the preset). If you want to overwrite that preset withyour newly edited version, press Save. Otherwise, use the Data Knob toselect another preset location and then press Save. In either case you willsee a brief message confirming that your preset was saved and will thenbe returned to whichever screen you were on immediately before initiat-ing the Save process.

NOTE: To copy an existing preset to another location, first select thepreset and press Save. Edit the name (if you wish) and press Save again.Select the location to copy to and press Save again. You may now edityour copy without any risk of accidentally overwriting the originalversion.

MICROPHONE MODELER MODULE

Source Mic PagePressing the Source button brings up this page:

Source Mic:Shure SM57

Use the Data Knob to select a source mic.

The Source Mic list includes both specific mics and generic mic categories.If you are using one of the specific mics, select that mic. Specific micsinclude:

Shure SM58 Rode NT1Shure SM57 Rode NT2Shure Beta 58a Rode NT3Shure KSM 32 CAD M177Audio Technica 3035 CAD E200Audio Technica ATM31 CAD E350Audio Technica ATM41aAudio Technica 4050

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If your mic is not listed, select the generic mic category that best describesyour mic. Generic mic categories include:

Hand-held DynamicStudio DynamicWirelessSmall Diaphragm CondenserLarge Diaphragm Condenser

Additionally, the list offers a selection called “Bypass.” When Bypass isselected, the source signal is passed unmodified to the Modeled Micsection. You should select Bypass when your source was not recorded witha microphone (e.g., guitar via direct box, direct synth input, etc.).

NOTE: Even if your audio was recorded with a microphone, you can stillchoose Bypass as the Source Mic and any mic as the Modeled Mic. Inthat case, the resulting effect is equivalent to having recorded theaudio with your actual physical mic (which you, of course, did) and thenhaving played back that track through a good set of speakers andrerecorded it with the Modeled Mic. What you end up with is a hybridof your actual and modeled mic.

Model Mic Page

Model Mic:Lg Dia condenser #1

Use the Data Knob to select the desired type of mic model. Models in-clude:

Hand-held DynamicStudio DynamicSmall Diaphragm Condenser #1Small Diaphragm Condenser #2Large Diaphragm Condenser #1Large Diaphragm Condenser #2Large Diaphragm Condenser #3Drum Mic - KickDrum Mic - SnareDrum Mic - CymbalTelephone

Additionally, the list offers a selection called “Bypass.” When Bypass isselected, no mic model is applied. The net sonic effect of selecting Bypasshere depends on the setting of the Source Mic:

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• If the correct source mic is selected in the Source Mic list and Bypass isselected in the Modeled Mic list, the final output of the Mic Modelermodule will be stripped of the characteristics of the source mic, result-ing in the signal that would have been recorded by an instrumentationmicrophone with no proximity effect.

• If Bypass is selected in the Source Mic list and Bypass is selected in theModeled Mic list, the final output of the Mic Modeler module will beidentical to the original input signal (with the exception of any addedtube warmth).

Low Cut/Proximity Page

Src LC ON Prox 4.5Mdl LC ON Prox 6.3

(There’s a lot going on with the parameters on this page and some of it israther counter-intuitive, so if things don’t seem to be acting the way you’dexpect, refer to the explanations below.)

This page contains the Low Cut Filter and Proximity settings for both theSource mic and the Model mic. Use the cursor buttons to navigate to thedesired fields and the Data Knob to set the values.

Source Mic Low CutIf you select a specific source mic and that mic is equipped with a low-cutfilter, you can use the Data Knob to turn the filter ON or OFF. (If thespecific mic does not have a low-cut filter, the display will default to “---.”)All generic mic categories include a low cut filter.

If the source mic does include a low-cut filter, select the low-cut setting(ON or OFF) that was (or will be) used when capturing your audio.

NOTE: It is important to keep in mind that the purpose of this setting isto “undo” the effect of any low-cut filter that was used to capture youraudio. If you play around with this setting, you may initially think thatit is working “backwards.” That is, changing the menu selection fromOFF to ON will actually cause a bass boost in the monitored audio.

However, once you think about it, you will realize that this is the way it’ssupposed to work. The purpose of the controls in the Source Mic section isto neutralize the effects of the source mic. So, when you select a low-cutfilter, you’re telling the Microphone Modeler that the source mic recordedthe audio with bass attenuation and, therefore, the model must nowboost the bass an equal amount to remove the source mic’s sonic colora-tion. (Trust us, this fried our brains a bit at first, too.)

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Source Mic ProximityUse the Data Knob to set the average distance that separated the mic andthe signal source during the recording of the audio. Or select OFF topreserve the source recording’s actual proximity effect (if any).

The purpose of this control is to remove any Proximity Effect that mayhave been introduced by the source mic.

NOTE: Proximity Effect is a boost in bass frequencies resulting fromplacing a directional mic in close proximity to a signal source. Theamount of the effect is inversely proportional to the distance from themic to the source (i.e., the smaller the distance, the greater the bassboost).

ANOTHER NOTE: Like the Low-Cut control described above, the SourceMic Proximity control may initially seem to be working backwards (i.e.,setting a shorter distance will result in an audible bass attenuation).Refer to the explanation up in the Source Low-Cut section to under-stand why this is actually how it is supposed to work.

Model Low CutIf the mic type you select as the Model Mic is typically equipped with alow-cut filter, you can use the Data Knob to turn the filter ON or OFF.(If the selected mic type does not have a low-cut filter (and actually, onlythe Telephone is lacking one), the display will default to “---.”)

If the modeled mic does include a low-cut filter, turning the low-cut ONwill reproduce the same effect that the filter would have on the actualmodeled mic.

NOTE: Although it’s always best to let your ears be your guide, if youraudio was recorded with the source mic’s low-cut filter turned on, inmost cases it will be best to turn on the modeled mic’s low-cut filter aswell. (After all, there was presumably some reason that someone choseto use that filter in the first place.)

Model Mic ProximityUse the Data Knob to select a mic distance for a desired amount of prox-imity effect.

Using the Data Knob to set a particular distance will result in the amountof proximity effect that would be produced by the actual modeled micwhen placed at that distance from the signal source.

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NOTE: A secondary effect of mic-to-source distance is the extent towhich environmental ambience is picked up by a mic. For example, as amic is moved away from the source, the proximity effect decreases, butthe amount of “room tone” increases (assuming that you are not in ananechoic chamber). The AVP does not model this effect. However,judicious use of the Proximity control in combination with some appro-priately programmed reverb will allow you to create the same effect,with the additional bonus of being able to control the exact nature ofthe room tone.

Tube Warmth Page

Tube Warmth Amount: 10.0.

The Tube section is designed to model the distortion that is typical of ahigh-quality tube pre-amp.

When tube pre-amps are operated in their linear range, there is virtuallyno signal distortion and their audio qualities are essentially identical tosolid state pre-amps. However, it commonly occurs that transients exceedthe linear voltage range, resulting in distortion. The distortion characteris-tics of a vacuum tube pre-amp is vastly different than that of solid stateamplifiers and is often described as adding a certain “warmth” to a sound(in contrast to what is often described as the “brittleness” of the solidstate sound).

The amount of tube saturation effect applied to your audio is controlledby the Tube Warmth Amount control in combination with the Input Levelcontrol.

The Warmth Amount control determines the amplification factor of themodeled tube pre-amp with the numeric display indicating the amplifica-tion in dB. At .0, no distortion occurs, even for full amplitude (+1 or -1)signal levels. These levels represent the “rails” of the amplifier. As theWarmth Amount is increased, the amplification is increased. Any regionsof the signal that increases beyond the rails generate distortion. (Butinstead of the usual ugly digital clipping, they are distorted the same waythe tube pre-amp would distort the sound.)

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Because the maximum drive is limited to +12 dB, using the Tube Saturationmodel requires the original signal to be at a level greater than -12 dB. Ifthis is not the case, you should adjust the Input Trim control (in the SetupMenu) to increase the level of the sound. (Be certain that Input Level isnot increased so much as to cause digital distortion.) It may be necessaryto go back and forth between Warmth Amount and Input Trim a fewtimes to get exactly the effect you want.

NOTE: If your audio was recorded at an exceptionally low level, it maybe that even maximum Input Trim and maximum Warmth Amount willstill not result in a level high enough to generate distortion. In thatcase, either re-record your audio at a higher level (if possible) or use anavailable digital waveform editor to digitally increase the level (keepingin mind that this may negatively affect the signal quality).

If you want to add tube warmth without otherwise affecting your sound,set both the Source Mic and Modeled Mic to Bypass.

Mic Modeler On ButtonWhen this button is lit, the Mic Modeler module is active. When it is notlit, the module is bypassed. Pressing the button toggles its state. The MicModeler On/Off function can also be controlled by MIDI and/or by afootswitch.

AUTO-TUNE MODULE

Scale PageYou tell Auto-Tune exactly which notes you want to correct on the ScalePage:

Ch:CC#DD#EFF#GG#AA#B :

This page allows you to specify the scale notes to which Auto-Tune tunesthe input sound.

The AVP comes with 25 preset scales: Chromatic, 12 diatonic major and 12diatonic minor. To select a preset scale, use the cursor buttons to move tothe scale name field and select the desired scale.

In addition, you can customize any of the provided scales and save it aspart of your preset. To modify a scale, use the cursor buttons to move tothe desired scale note and set it to one of the following three states:

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Tune (i.e., the note name appears in the display, but the field under thenote is blank): When the input is near a note set to Tune, Auto-Tunewill retune the input to that note.

Bypass (i.e., the note name appears in the display and an “*” appears inthe field under the note): When the input pitch is close to a note set toBypass, the output remains uncorrected.

Blank (i.e., the note name disappears from the display): A note set toBlank will be omitted from the scale. For example, setting C#, D#, F#,G#, A# to Blank causes a C Major scale to remain. In that case Auto-Tune would always retune the input to the closest note of the C Majorscale.

As an example, the following settings result in a D Major scale with nopitch corrections applied to F# and C#:

D : C#D E F#G A BMa: * *

Why set Scale notes to “Blank”?To understand why it is sometimes necessary to set even correct scale notesto ”Blank,“ let’s look again at the example from Chapter 1.

10.0 10.5 11.0

D3

B2

C� 3

ORIGINALPERFORMANCE

CORRECTED BY AVP

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This phrase is in D Major and, if all the pitch errors were no greater thanabout 49 cents, would work fine with a standard D Major scale (D, E, F# ,G, A, B, C# ). However, the pitch error of three semitones at the end of thelast note is so large that with B and C# present in the Scale, as the pitchfell, Auto-Tune would see first C# and then B as the target pitch andtherefore allow the error to remain. With C# and B removed from theScale, Auto-Tune continues to see D as the target pitch for the entireduration of the note and therefore pulls the phrase up to the correctpitch.

A NOTE ABOUT SCALE EDITS: While you remain in a preset, you canmake edits to multiple scales and the AVP will remember the edits andallow you to switch between the edited scales (e.g., to evaluate theeffect of various scale settings on the correction of a particular perfor-mance). However, if you select another preset without first saving thefirst preset, all of your scale edits will be lost. Furthermore, since an AVPpreset includes only the scale selected at the time it was saved, be sureyour desired scale is selected before saving the preset, as any edits toother scales will also be lost.

Speed Page

Correction Speed (0 is fast): 7

The Speed control determines how rapidly pitch correction is applied tothe incoming sound. Values range from 0 to 25. A value of zero will causeinstantaneous changes from one note to another and will completelysuppress a vibrato and any purposeful expressive pitch variations (notethat any related volume changes will remain). This will result in what hasbecome known as the “Cher effect.”

Values from 6 to 10 are typical for vocals. Higher values allow morevibrato and other interpretative pitch gestures, but will slow down therate at which pitch corrections are made.

Although the above suggestions can be used as starting points, findingthe correct Speed setting for a particular performance is largely a matterof trial-and-error and depends on such attributes as song tempo, noteduration and vocal style, among others.

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Correction MeterThis meter indicates, in real time, the amount of pitch correction beingapplied to change the input pitch to the target pitch. The green LEDsindicate that the input is flat and that positive correction is being applied.Conversely, the yellow LEDs indicate that the input is sharp and thatnegative correction is required.

Auto-Tune On ButtonWhen this button is lit, the Auto-Tune module is active. When it is notlit, the module is bypassed. Pressing the button toggles its state. TheAuto-Tune On/Off function can also be controlled by MIDI and/or by afootswitch.

COMPRESSOR/GATE MODULE

Compressor Page

Th:-12dBRatio: 3.0:1 Gn:12dB

This page allows you to set the main compressor parameters. Use thecursor buttons to move from field to field and the Data Knob to set eachparameter. For ease in setting the threshold, this page includes a display ofthe incoming signal level and a graphic indication of the currently selectedthreshold. The threshold must be set below the signal peaks for anycompression to occur.

Pressing the Comp. button again while the Compressor Page is displayedwill display the Gain Reduction Meter Page (see below). Continuallypressing the Comp. button will alternate between the two pages.

The ranges of the parameters are as follows:

Threshold: -36dB - 0dBRatio: 1.0:1 - 99:1Makeup Gain: 0dB - 36dB

Compressor Attack Page

Compressor Attack 40ms

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The Attack Time control adjusts the speed with which the compressorresponds to peaks in the input signal. The range of the control is from 0milliseconds to 200 milliseconds.

NOTE: While using the compressor and the de-esser simultaneously, besure that the attack time of the compressor is long enough not tointeract with the de-esser.

Compressor Release Page

Compressor Release 200 ms

The Release Time control sets the time it takes for the compressor’s gain toreturn to normal after the input level drops below the threshold. Therange of the control is from 0 milliseconds to 3,000 milliseconds.

Compressor Knee Page

Compressor Knee: 40 (0 is hard)

The Knee control adjusts the sharpness of the transitions betweenuncompressed and compressed signals. As a signal increases in levelthrough the threshold, the compressor will begin to apply gain reduction.With a soft knee (100), that change in gain will be gradual and thereforeless noticeable.

The range of the control is from 0 (hard knee) to 100 (soft knee).

Gate Page

Th:-36dBGate Ratio: 1:20

This page allows you to set the main Gate parameters. Use the cursorbuttons to move from field to field and the Data Knob to set each param-eter. For ease in setting the threshold, this page includes a display of theincoming signal level and a graphic indication of the currently selectedthreshold. The threshold should be set just above the level of the signalthat you wish to gate.

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Pressing the Gate button again while the Gate Page is displayed willdisplay the Gain Reduction Meter Page (see below). Continually pressingthe Gate button will alternate between the two pages.

The ranges of the parameters are as follows:

Threshold: -90dB - 0dBRatio: 1:1.0 - 1:99

Gain Reduction Meter Page

C/G:-20 -12 -6 -3 0

Pressing either the Comp. or Gate buttons while their respective pages aredisplayed will display this high resolution gain reduction meter. The meterdisplays the amount of gain reduction applied to the signal. When theinput signal is above the compression threshold or below the gate thresh-old, the gain reduction meter will display the amount of compression orgating being applied. Pressing the Comp. or Gate button again will returnto the appropriate page.

Gain Reduction MeterThe front panel gain reduction meter is intended to provide a quickindication of compressor and gate activity. For precise gain reductionindication, refer to the Gain Reduction Meter Page described above. Therange of the meter is 15 dB.

Comp/Gate On ButtonWhen this button is lit, the Comp/Gate module is active. When it is not lit,the module is bypassed. Pressing the button toggles its state. The Comp/Gate On/Off function can also be controlled by MIDI and/or by afootswitch.

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DE-ESSER MODULE

De-esser Page

Th:-40dBDe-esser Ratio:2.0:1

This page allows you to set the main de-esser parameters. Use the cursorbuttons to move from field to field and the Data Knob to set each param-eter. For ease in setting the threshold, this page includes a display of theincoming high-pass signal level and a graphic indication of the currentlyselected threshold. The threshold must be set below the signal peaks forany de-essing to occur.

Pressing the De-Ess button again while the De-esser Page is displayed willdisplay the De-esser Gain Reduction Meter Page (see below). Continuallypressing the De-Ess button will alternate between the two pages.

The ranges of the parameters are as follows:

Threshold: -60dB - 0dBRatio: 1.0:1 - 99:1

NOTE: If you are using the Double Track function (see below), the de-esser works on both the main and the double track.

De-esser Attack Page

De-esser Attack 15 ms

The Attack Time control adjusts the speed with which the de-esser’scompressor element responds to peaks in the signal coming from thehighpass filter. The range of the control is from 0 milliseconds to 200milliseconds.

De-esser Release Page

De-esser Release 200 ms

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The Release Time control adjusts the time it takes the compressorelement’s gain to increase 6 dB after the signal coming from the highpassfilter drops below the threshold. The range of the control is from 0milliseconds to 3000 milliseconds.

High Pass Frequency Page

De-esser Highpass Frequency: 5402 Hz

The de-esser can be viewed as a compressor which is keyed by the outputof a high pass filter. When the filter passes a signal whose level is higherthan the compressor’s threshold, the compressor clamps down on thesignal. Since sibilants are primarily broad band noise above 5 KHz, thefilter is designed to pass these signals and attenuate low frequency signalsas much as possible.

The filter used in AVP’s de-esser is a two pole, 12dB/octave high passdesign which effectively distinguishes between sibilants and other vocalsounds. The range of the control is from 2971 Hz to 20 kHz.

De-esser Gain Reduction Meter Page

DeS:-20 -12 -6 -3 0

Pressing the De-Ess button while the De-esser page is displayed will displaythis high resolution gain reduction meter. The meter displays the amountof de-essing of the signal. If the frequency and threshold controls are setproperly, the meter will display little gain reduction during vowel soundsand soft consonants, and substantial gain reduction during sibilants.Pressing the De-Ess button again will return to the De-esser page.

Gain Reduction MeterThe front panel de-esser gain reduction meter is intended to provide aquick indication of de-esser activity. For precise gain reduction indication,refer to the De-esser Gain Reduction Meter Page described above. Therange of the meter is 15dB.

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De-esser On ButtonWhen this button is lit, the De-esser module is active. When it is not lit, themodule is bypassed. Pressing the button toggles its state. The De-esser On/Off function can also be controlled by MIDI and/or by a footswitch.

EQUALIZER/OUTPUT MODULE

EQ #1 Page

EQ1 Peakingf: 7725 Q:2.4 Gn:+12

This page allows you to select the type and set the parameters of the firstof the AVP’s two bands of parametric equalization. Use the Data Knob toselect the type of equalization and then use the cursor buttons to move tothe various parameters available for that type.

The equalization types and their associated parameters are as follows:

EQ Off

EQ1 (off)

No equalization applied.

Low Shelf Filter

EQ1 Low Shelff: 1000 S:1.0 Gn: +6

The Low Shelf filter can be thought of as the world’s most flexible versionof the venerable “Bass” tone control familiar to users of radios, homestereos and boom boxes.

The Low Shelf filter boosts or cuts all frequencies below cutoff frequency“f” by the Gain (“Gn”) amount (in dB). Additionally, you can vary theslope (“S”) of the shelf from 2dB/octave (S=0.3) to 12dB/octave (S=2.0).

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High Shelf Filter

EQ1 High Shelff:11039 S:1.5 Gn: +4

The High Shelf filter can be thought of as the world’s most flexible versionof the venerable “Treble” tone control familiar to users of radios, homestereos and boom boxes.

The High Shelf filter boosts or cuts all frequencies above cutoff frequency“f” by the Gain (“Gn”) amount (in dB). Additionally, you can vary theslope (“S”) of the shelf from 2dB/octave (S=0.3) to 12dB/octave (S=2.0).

Peaking Filter

EQ1 Peakingf: 884 Q:2.4 Gn:-10

This is the traditional fully parametric EQ. The filter boosts or cuts thesignal at frequency “f” by the Gain (“Gn”) amount (in dB). Additionally,you can vary the bandwidth of the peak or dip with the “Q” control(higher Q = narrower bandwidth).

Notch Filter

EQ1 Notchf: 3775 Q:5.8

The Notch Filter passes all frequencies except for a band centered aroundfrequency “f,” which is sharply attenuated. The setting of the “Q” controldetermines the width of the notch (higher Q = narrower notch).

Band Pass Filter

EQ1 Band Passf: 1277 Q:8.4

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The Band Pass filter sharply attenuates all frequencies except for a bandcentered around frequency “f.” The setting of the “Q” control determinesthe width of the pass band (higher Q = narrower pass band).

Low Pass Filters

EQ1 Low Pass 6dBf: 6087

EQ1 Low Pass 12dBf: 6087 Q:2.8

These filters pass signal below the cutoff frequency “f” and roll off signalabove “f” at either 6dB or 12dB per octave. The 12dB filter’s “Q” controlallows you to add a variable height peak at the filter’s cut-off frequency.

As you would expect, the 12dB/octave filter provides greater attenuationof signals above “f” and is useful for reducing hiss or other high frequencyenvironmental noise encountered in the recording process.

High Pass Filters

EQ1 High Pass 6dBf: 3775

EQ1 High Pass 12dBf: 3775 Q:2.8

These filters pass signal above the cutoff frequency “f” and roll off signalbelow “f” at either 6dB or 12dB per octave. The 12dB filter’s “Q” controlallows you to add a variable height peak at the filter’s cut-off frequency.

As you would expect, the 12dB/octave filter provides greater attenuationof signals below “f” and is useful for reducing sub-sonic noise, rumble, micstand noise or other low frequency environmental noise encountered inthe recording process.

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EQ #2 Page

EQ2 Peakingf: 7725 Q:2.4 Gn:+12

This page allows you to select the type and set the parameters of thesecond equalizer band. The available options are identical to EQ Band #1described above.

EQ On ButtonWhen this button is lit, the EQ module is active. When it is not lit, themodule is bypassed. Pressing the button toggles its state. The EQ On/Offfunction can also be controlled by MIDI and/or by a footswitch.

Double Track PageThe AVP’s Double Track function let’s you create the effect of two not-quite-identical versions of the same performance being played in unison.These tracks can appear together at the main output or can be routed toindependent outputs for subsequent processing and mixing.

Double TrackMono mix amount: 27%

If you want both the main and double track to appear at the Main Out-put, use the Data Knob to select the amount of the double track you wantin the mix. The range is from 1% (double track barely audible), to 50%(main and double track appear at the same volume).

If you want to send the main and double track to separate outputs, turnthe Data Knob counterclockwise until the following screen appears:

Double Track Stereo

With this setting, the main track appears at the Main Output and thedouble track appears at the Double Track Output.

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How Double Track worksThe Double Track functions works a bit differently depending uponwhether or not you are using the AVP’s Auto-Tune module for your maintrack. Here’s how:

• If the Auto-tune module is active on your main track (i.e., its On buttonis lit), the double track will be the non-pitch corrected version of yourtrack.

• If the Auto-tune module is not active on your main track (i.e., its Onbutton is not lit), the double track will be generated by passing themain track through the Auto-Tune function using the parameters set inthe Auto-tune module. Consequently, in this case it is important toselect an appropriate scale, speed, and detune value for the Auto-Tunemodule to produce the desired double track effect. (On the other hand,some unlikely scale note choices or Speed settings might produce somevery interesting — if untraditional — effects.)

Double Track On ButtonWhen this button is lit, the Double Track function is active. When it is notlit, the module is bypassed. Pressing the button toggles its state. TheDouble Track On/Off function can also be controlled by MIDI and/or by afootswitch.

Output/Main Bypass Page

Main Bypass: OFFOutput Gain: +12 dB

Setting Main Bypass to ON causes the input signal to be passed throughthe AVP with no processing by any of the modules. While Main Bypass isengaged, no other controls will respond until bypass is disengaged.

NOTE: Main Bypass can also be engaged by the footswitch. Engaging bypass by the footswitch will cause the Output/Main Bypass Page to bedisplayed and, as above, no other controls will respond until bypass is disengaged.

The Output Gain control is used to fine-tune the AVP’s output level. Itsrange is -30dB to +24dB.

Output MeterThe Output Meter displays the level of the signal output by the AVP.

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Chapter 5: Get Creative

Up to this point, the instructions in this manual have focused on how touse the AVP for its primary purpose: creating traditionally gorgeous vocaltracks. But don’t let that limit you. We’ve purposely given the controlswide ranges to allow you to move beyond what might be considereduseful for traditional processing. Try some of the following:

Using the Auto-Tune Module• Auto-Tune can be used to simulate other singing styles. Many ethnic

styles feature exceptional (almost unbelievable) intonation during fast,melismatic passages. Setting the Speed parameter faster than normal(less than 5), and setting the SCALE to an appropriately exotic mode(for example, G A A# C# D D# F#) can produce exactly this result (if thesinger improvises with sufficient global panache.)

• You can also create ‘impossible’ effects (like very fast octave leaps) bycreating a Scale of only one note and setting the Speed medium fast(~5). Using a foot pedal, enter bypass mode before beginning theperformance, then engage Auto-Tune while singing an interval of afifth or more from the Scale note, and then re-enter Bypass Mode tocontinue with the normal performance. This effect can sound quite likethe abruptly beautiful vocal ornaments of the Pygmies.

• Don’t be afraid to use just as little Auto-Tune as you need. It’s quitepossible that a performer has really quite good intonation, but failsconsistently on one or two notes. In this case, use Auto-Tune’s noteBypass function to bypass all the notes except the one(s) which needthe retuning. This way, the Auto-Tune is working in a completelytransparent mode, and only when needed.

• Speed = 0 = “Cher effect.” Enough said.

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Using Auto-Tune in Double Track Mode• Use Auto-Tune to create the double track, but instead of using a scale

that will produce the traditional unison double track, create a moreconstrained scale that includes some, but not all, of the notes in themain track’s melody. Improvising in this mode can produceheterophonic effects (the effect of two players and instruments playingthe ‘same’ melody, which actually varies with some different pitchmaterial). The more constrained your Auto-Tune scale is, the morevariation there will be between the two performances.

• To set up a drone or ambient aura behind a melodic performance, useDouble Track Mode in stereo with an extremely constrained scale (forexample, in the key of C: C, F, G, A#). Process the Auto-Tune createddouble track through a lush, long reverb. The effect produced will be asteady backdrop of chanting tones behind the main melodic material.

Using the Microphone Modeler Module• Select a Source Mic that doesn’t match your physical mic. In fact, try one

whose characteristics are as different as possible from your physical mic.

• Select Bypass for the Source Mic to combine the sound of your physicalmic with the sound of the modeled mic.

• Extreme Proximity settings can give strange, but interesting effects. Trywildly differing settings in the Source and Model sections.

• Dynamically change Proximity settings during a performance.

• Overdrive the Tube Warmth section for some serious gruzz.

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Appendix

AVP Factory PresetsThe AVP comes pre-programmed with 35 factory presets. These presetswere designed by studio professionals to provided quick setups forcommon track enhancements or problems, and are based around musicgenres and/or the type of sound source used in their creation.

Keep in mind that these presets are designed as general starting points.Parameters such as compression threshold, de-esser threshold and highpass frequency, and EQ settings will typically need to be tweaked forthe specifics of any particular track. (And, as always with compression,beware that over-compression can tend to make a sound smallerinstead of bigger.)

Auto-Tune has not been enabled in any of the factory presets. To addAuto-Tune to a preset, select and/or modify a scale, set the appropriateSpeed setting for the performance, turn the Auto-Tune module on andresave the preset.

Presets which use Double Tracking default to Stereo Double Track modeand refer to Auto-Tune’s Scale and Speed settings. In most cases you willhave to adjust these settings as appropriate for your performance.

In presets that use Mic Modeler, the Source Mic setting defaults to Bypass.You should set the source mic to the mic (or mic type) that the track wasrecorded with and then resave the preset.

As you scroll through the presets, the various modules’ “on” buttons willlight to indicate which modules are active in each preset. Use the “on”buttons to quickly evaluate each module’s effect, especially EQ, whichmay need to be customized for your particular mix.

Also, keep in mind that while each preset was created with a particularuse in mind, using a preset for another purpose will rarely bring a visitfrom the audio engineering police. Go ahead and experiment. In the end,creating your own unique sounds is the name of the game. Have fun!

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The Presets

Vocal Presets1 MaleVoice Basic male voice treatment. Adjust compressor

threshold to singing style.

2 FemaleVoice Basic female voice treatment. Adjust compressorand de-esser thresholds to voice and singing style.

3 PopVox A preset built around a pop rock vocal track,increases clarity, controls ess’s and evens outdynamics.

4 BalladVocal Large condenser mic model and tube warmth addsbreadth and intimacy. Double track provides a stereoeffect — adjust Auto-Tune Detune (in the Setupmenu) to taste.

5 Breathless Suppresses breath sounds between phrases. AdjustGate/Comp thresholds to suit the track.

6 VocalSquash Heavily compressed pop vocal patch. Compressionand de-esser thresholds may need to be tweaked.You should see that compression is usually presentand de-essing is occasionally engaged.

7 TrackingVox Designed to give the reference vocal a chance ofcutting through against a live band.

8 CountryFat Try modifying the tube warmth in the Mic Modelermodule to increase the degree of fat and thecompression threshold to decrease dynamic range.

9 PunkVox Adjust Tube Warmth, EQ 1 frequency, and EQ 2 gainto taste.

10 TrackingVox2 Double track was engaged because the singercomplained that he sounded too “dry” in the mix.The double track provided the “space” he waslooking for without introducing any delay or messyreverb. Pan outputs left/right.

11 MaleR&B Adjust compressor threshold, EQ 1&2 gain to taste.

12 FemaleR&B Adjust compressor threshold, EQ 1&2 gain to taste.

13 Crooner Adjust compressor threshold, EQ 1 frequency, EQ 2gain to taste.

14 BackingVocals Mic model softens and double track splits voices intostereo. Pop in the EQ to bring out inner voices.

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15 MixedBacking Adjust compressor threshold to track style.

16 ThickBacking Adjust Double Track mix for degree of thickness.

17 FemaleBackup Adjust model mic proximity and compressorthreshold to voice.

Drum Presets18 DrumAlert Adds weight and snap to drum kit, adjust model mic

proximity to work kick sound, and Low Pass EQ tocontrol high end.

19 TiteSnare Adjust compressor threshold, EQ 1&2 gain to taste.

20 KickEnhance Will give even a well-recorded kick drum somespectral enhancement. Use input level to increase ordecrease the overall effect.

21 LoFoDrLoop A patch designed to properly trash a mono beat (orone side of a drum loop).

Bass Presets22 FatBass Adjust EQ 1 frequency for your specific mix.

23 FunkBassBeef Adds power bass and slap sizzle to funky bass parts— adjust model mic proximity for low end response.

24 PopBass Adjust compressor threshold, EQ 1 frequency, andEQ 2 gain.

Instrument Presets25 ElecGtrWarm Adjust Tube Warmth, EQ 1&2 gain.

26 TheSaxCuts Adds grit, tone and presence to saxes. Adjust modelmic proximity for low end thump.

27 MonosynthDbl Enhance and spread out that mono synth track. Youcan also use this one on guitars. Pan outputs R/L.

28 PianoCuts Allows piano to peak through a mix. Adjust modeledmic proximity for bass response.

29 BrightAcGtr Adjust compressor threshold, EQ 1 frequency, andEQ 2 gain.

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Special Effect Presets30 Destructo Adjust compressor threshold for desired effect.

31 Telephone For that special phone moment — less is more!Depending on your source level you may need toboost Output gain.

Utility Presets32 LiveVoxFix Preset built around a live vocal track recorded at

Caesar’s Palace in Vegas in the ‘60s. Mostly designedas damage control.

33 GateThatKick Pumps and isolates the kick drum from the rest ofthe kit (and live) sound. Adjust the gate thresholdto your track.

34 SnareGate Adjust the gate threshold and Notch EQ frequencyto your track.

35 TomGate Adjust the gate and compressor thresholds todynamics.

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Realistic Mic Modeling Expectations(or, AVP meets the space-time continuum)

Although the AVP’s Microphone Modeling seems in many ways to bealmost magic, it is, in fact, simply very clever science. And as such, itremains subject to those pesky laws of physics.

To get the maximum satisfaction out of Mic Modeling, it is important tohave realistic expectations of exactly what it can and can’t do. (Most ofwhat it can’t do relates to the physical impossibility of recovering informa-tion that wasn’t in the original signal to begin with.) Here are the mainissues to be aware of:

• Choice of Input Microphone Luckily for all of us, the general quality of“affordable” microphones has reached a remarkably high level. Conse-quently, if you stick with well-known manufacturers, most any reason-able quality mic will provide sufficient performance to allow the AVP todo its magic (OK, we said it wasn’t magic, but we’re speaking meta-phorically here).

On the other hand, you can’t expect to go into a large (but unnamed)mass merchandiser of low-cost electronics gear and pick up a $19.95 micand expect the AVP to make it sound like a U87. If a source mic hasmassive roll-off in a particular frequency range, there is no way the AVPcan produce the signal that would have been captured had the sourcemic had better response.

• Microphone Technique In getting the best possible recorded sound, mictechnique and placement are at least as important (if not more so) thatmic choice. A good engineer can record a great track with an SM57while a poor one can make a U47 sound like doo doo. If your audio isnot well-recorded in the first place, the AVP can to do very little toimprove it. If you start with a poorly recorded track, all the AVP will dois make it sound like a track that was poorly recorded with a great mic.

• Excessive Frequency Boost Although the AVP’s processing does notitself add noise to your signal, any noise in your original audio or noiseadded by intervening processes (e.g., A/D conversion, pre-AVP dynamicsprocessing, etc.) will be accentuated by any large amount of frequencyboost. This should only be a problem when your source mic has asubstantial bass or treble roll-off and the modeled mic has a corre-sponding boost or, more likely, when your audio was recorded with alow-cut filter on the source mic and you do not use a low-cut on themodeled mic. In both of these cases, the models will apply substantialgain to the affected frequency ranges, raising the level of added noisealong with the desired signal. If the resulting noise level is unaccept-able, you should choose a different combination of mics and/or turn onthe modeled mic’s low-cut filter.

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• Transient Response One of the key characteristics of various types ofmicrophones is their transient response (i.e., the way that their dia-phragms respond to extremely rapid amplitude fluctuations, typicallyduring a sound’s attack phase).

Intuition would suggest that modeling changes in transient responsebetween mics would be next to impossible — particularly changing asource mic with a slow response to a modeled mic with a fast response.Amazingly, that turns out not to be the case. The AVP’s models domodel variations in transient response in both directions.

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Specifications

Frequency response: 10Hz-20KHx, +/- 0.2dBDistortion + Noise: Less than 0.005% (@1kHz)

AUTO-TUNE Chromatic and 24 diatonic scales, all user customizableRetune speedPitch detection sensitivity

MIC MODELER Available models:Hand-held dynamicStudio dynamicSmall diaphragm condenser 1Small diaphragm condenser 2Large diaphragm condenser 1Large diaphragm condenser 2Large diaphragm condenser 3Drum mic - kickDrum mic - snareDrum mic - cymbalTelephone

Tube saturation drive: 0 dB - 12 dB

COMPRESSOR Threshold: -36dB - 0dbRatio: 1.0:1 - 99:1Attack: 1ms - 200msRelease: 20ms - 3000msKnee: Continuously variable

GATE Threshold: -96dB - 0dbRatio: 1:99 - 1:1.0

DE-ESSER Threshold: -40dB - 0dbRatio: 1.0:1 - 99:1Attack: 1ms - 200msRelease: 20ms - 3000msHighpass frequency: 2971Hz - 20kHz

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PARAMETRIC EQ (2 independent bands)6 dB Lowpass6dB Highpass12dB Lowpass12dB HighpassBandpassNotchLow shelf (variable slope)High shelf (variable slope)PeakingDouble TrackingStereo or variable mono mix

Line Input:1/4 inch Phone: Unbalanced, 9.3 dBu, 10K Ohms

Line Outputs: Main:1/4 inch Phone: Unbalanced, 8.5 dBuDouble Track: 1/4 inch Phone: Unbalanced, 8.5 dBu

MIDI In and Out: 5-Pin DIN

Footswitch: 1/4 inch Phone

Displays: 2x20 character LCD; Input Level Indicator (LED x5); Output LevelIndicator (LED x5); Tuning Correction Indicator (LED x4); Compression GainReduction Indicator (LED x5); De-esser Gain Reduction Indicator (LED x5)

Input Power: 9VAC @ 1000MA, 50Hz or 60Hz

Power consumption: 9 watts

Included accessories: Power supply, owner’s manual

Dimensions: width: 19 inches x height: 1.75 inches x depth: 5 inches

Weight: Rack: 4.5 lbs; Power supply: .6 lbs.

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Index

Symbols< (Left Cursor) 21, 29> (Right Cursor) 21, 29

AAC Power Input 24Analog Tube Modeling 2Antares Audio Technologies ii, 3Antares Microphone Modeling 2, 7Attack 14Audio Type Page 30Auto-Tune 2, 3Auto-Tune Detune Page 31Auto-Tune Module 22, 45, 66

Auto-Tune On Button 48Correction Meter 48Scale Page 45Speed Page 47

Auto-Tune On Button 48Auto-Tune Sensitivity Page 32

BBack panel 24Band Pass Filter 19, 54Buttons 21

< (Left Cursor) 21> (Right Cursor) 21Attack 23Band 1 23Band 2 23Comp. 23De-Ess 23Double Track 23Gate 23HP 23Knee 23Low Cut 22

Model 22On 22, 23Page 21Preset 22Release 23Scale 22Setup 21Source 22Speed 22Tube 22

CCher effect 47, 58Comp/Gate On Button 50Compression 8, 12, 48Compression Gain Reduction Meter 67Compressor Attack Page 48Compressor Knee Page 49Compressor Page 48Compressor Release Page 49Compressor/Gate Module 23, 48, 66

Comp/Gate On Button 50Compressor Attack Page 48Compressor Knee Page 49Compressor Page 48Compressor Release Page 49Gain Reduction Meter Page 50Gate Page 49

Connectors 1, 21AC Power Input 24Double Track Line Output 24Footswitch 24Line Input 24Main Line Output 24MIDI In 24MIDI Out 24

Controls 1, 28Correction Meter 48Creative Applications 2

DData Entry Knob 21De-Esser 2, 15De-esser Attack Page 51De-esser Gain Reduction Meter 67De-esser Gain Reduction Meter Page 52

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De-Esser Module 23, 51De-esser Attack Page 51De-esser Gain Reduction Meter Page 52De-esser On Button 53De-esser Page 51De-esser Release Page 51Gain Reduction Meter 52High Pass Frequency Page 52

De-esser Module 66De-esser On Button 53De-esser Page 51De-esser Release Page 51Detune 31Display Screens 28Double Track 56Double Track On Button 57Double Track Page 56Double Tracking 3, 67Downward Expanding Gate 2Dynamic Expansion 10

EEQ #1 Page 53EQ #2 Page 56EQ Off Button 53EQ On Button 56Equalization 15Equalizer/Output Module 23, 53, 67

Band Pass Filter 54Double Track On Button 57Double Track Page 56EQ #1 Page 53EQ #2 Page 56EQ Off 53EQ On Button 56High Pass Filters 55High Shelf Filter 54Low Pass Filters 55Low Shelf Filter 53Notch Filter 54Output Meter 57Output/Main Bypass Page 57Peaking Filter 54

Expansion 12

FFactory Presets 3, 28, 60Features 2

Analog Tube Modeling 2Antares Microphone Modeling 2Auto-Tune Real-time Pitch Correction 2Double Tracking 3Downward Expanding Gate 2Flexible Parametric EQ 3MIDI Automation 3Presets 3Really Easy To Use 3Variable Frequency De-Esser 2Variable Knee Compressor 2

FiltersBand Pass 19High Pass 16Low Pass 16Notch 19Peaking 18Shelving 17

footswitch 24, 34, 57Footswitch Assign Page 34

GGain Reduction Meter 52Gain Reduction Meter Page 50Gate Page 49Gating 10Get Creative 58

Using Auto-Tune in Double Track Mode 59Using the Auto-Tune Module 58Using the Microphone Modeler Module 59

HHard Knee/Soft Knee 13Hertz relative 31High Pass Filters 55High Pass Frequency Page 52High Shelf Filter 54How Double Track works 57How to use this manual 1

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Iinner child 32Input Level Meter Page 30Input Meter 28, 67Input Trim Page 30Inputs

AC Power 24Line 24MIDI In 24

Introducing the Antares Vocal Producer 1

LLCD 21, 39, 67LCD Contrast Page 39Limiting 10Live or mixdown? 25Low Cut/Proximity Page 42Low Pass - High Pass Filters 16Low Pass Filters 55Low Shelf Filter 53

MMaster Module 21, 28

< (Left Cursor) 29> (Right Cursor) 29Audio Type Page 30Auto-Tune Detune Page 31Auto-Tune Sensitivity Page 32Factory Presets 28Footswitch Assign Page 34Input Level Meter Page 30Input Meter 28Input Trim Page 30LCD Contrast Page 39MIDI Channel Page 32MIDI Controllers Page 33MIDI Preset Dump Page 35MIDI Preset Restore Enable Page 37Page 29Preset Select 28Restore Factory Presets Page 38Save Preset Page 39Setup 29

Mic Modeler On Button 45Microphone Modeler Module 22, 40, 66

Low Cut/Proximity Page 42Mic Modeler On Button 45Model Low Cut 43Model Mic Page 41Model Mic Proximity 43Source Mic Low Cut 42Source Mic Page 40Source Mic Proximity 43Tube Warmth Page 44

Microphone Modeling 25, 64MIDI 3, 20, 24, 35, 37, 57MIDI Channel Page 32MIDI Controllers Page 33MIDI Preset Dump Page 35MIDI Preset Restore Enable Page 37Model Low Cut 43Model Mic Page 41Model Mic Proximity 43

NNotch Filter 19, 54

OOperation 2, 25Output Meter 57, 67Output/Main Bypass Page 57Outputs

Double Track Line 24Main Line 24MIDI Out 24

Overview 2

PPage 29Panel Controls 21Parametric EQ 3Patching the AVP into your system 25Peaking Filter 54Peaking filter 18Pitch 4, 5, 6Power switch, non-existent 21Preset Select 28

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Q“Q” control 16, 19, 54, 55

RRatio 9Realistic Mic Modeling expectations 64Release 14Restore Factory Presets Page 38

SSave Preset Page 39Scale Page 45Scales 6Setting Up 1, 20Setup 29Setup Menu 21Shelving Filters 17Source Mic Low Cut 42Source Mic Page 40Source Mic Proximity 43Specifications 66Spectral Shaping Tool 7Speed 6Speed Page 47SysEx data 37

TTechnical Support viThreshold 9Tube Modeling 2Tube Warmth Page 44Tuning Correction Indicator 67

VVariable Frequency De-Esser 2Variable Knee Compressor 2

WWhy set Scale notes to “Blank”? 46

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